On Eye Of The Beholder, his seventh recording leader recording for Criss Cross (and 12th label appearance overall), tenor and soprano saxophonist Tim Warfield draws on musical relationships that have shaped his artistry from the very start. Pianist Cyrus Chestnut and drummer Clarence Penn, both of whom appeared on Warfield’s 1994 debut and several other sessions, bring their powerful and sensitive presence to this new quinter date.

Rodney Whitaker provides an unshakable yet flexible foundation on bass. Trumpet great Nicholas Payton, who featured Warfield in his own incendiary quintet of the mid to late ’90, comes on board and contributes brilliant playing as well as original music. -[Editorial Review | Amazon.com]-

On his long-awaited follow-up to his critically lauded 1996 Criss Cross debut, Penn’s Landing, and the equally powerful Play-Penn, from 2001, master drummer-percussionist Clarence Penn presents Dali in Cobble Hill, a meditation on how the iconic Surrealist painter might have digested a stroll through Penn’s Brooklyn neighborhood.

The eight originals and two standards incorporate a variety of moods, flavors, and strategies that reflect Penn’s extensive activity as a sideman for jazz’ best-and-brightest over the past decades; his ensemble of grand master generational contemporaries Chris Potter on tenor saxophone and bass clarinet, Adam Rogers on guitar, and Ben Street on bass inhabit the stories, playing with deep imagination and virtuosic craft. -[Editorial Review | Amazon]-

It’s by no accident Harmonicist extraordinaire Grégoire Maret is one of those significant artists that comes into our lives and touches the deepest emotions of our heart and soul with passion, grace and intrigue. Moreover, his “Self-Titled” project on eOne Entertainment Maret’s unwavering and intuitive suites unfolds the opulent tonality, immediate rhythms and compelling melodies driven by his spellbinding creativity as a soloist is exactly what I look for musically.

While growing up in Genève, Switzerland with his Harlem born mother and Swiss born father it had to be a culturally interesting yet inspiring adventure for Grégoire. His parents obviously wanted the best for him and pursued the proper education, influences with an array of musical experiences was vital for his growth. Therefore, Grégoire spend time building his musical bridges at the prestigious Conservatoire Superieur de Musique de Genève and later he decided to undertake jazz studies at New York’s New School University. Continue reading →

Over the course of the past decade, Grégoire Maret has emerged as a unique and compelling new voice across a wide spectrum of the modern jazz world. That his chosen instrument – the harmonica – is a relative rarity in the genre is one element in his singular sound, but far from the whole explanation. After all, the extensive list of heavy-hitters who have enlisted him for their own projects is unparalleled: Herbie Hancock, Pat Metheny, Cassandra Wilson, and Marcus Miller are some of his most prominent employers, none of whom have the patience to employ novelty for novelty’s sake.

Joel Harrison’s latest CD, Search, finds the critically acclaimed composer/guitarist challenging himself compositionally, using extended forms and techniques borrowed from many of his favorite classical composers. The end result transcends style and genre – the writing is stunning, and cements Harrison as one of the most important contemporary composers of the day.

The compositions flow seamlessly, instantly immersing the listener in a coherent, rich, dynamic sound world. Pieces such as “Grass Valley and Beyond” and “The Beauty of Failure” have rich, memorable melodies that stick with the listener long after the album ends. Complex rhythmic motion is a hallmark of the multi-layered, emotionally wrenching “A Magnificent Death,” which Harrison describes as the centerpiece of the record. This 15-minute mini-epic tells the story of a close friend who died in 2009. Continue reading →

The process by which Simon became an internationally regarded jazz musician began in the small coastal town of Cardón, Venezuela, where he grew up surrounded by the sounds of Latin and Caribbean music. Born in 1969, Simon credits his father, Hadsy, for developing his passion for music and supporting him and his two brothers, Marlon and Michael, to become professional musicians.

He attended the Philadelphia Performing Arts School, graduating at 15, then received a music scholarship from the University of the Arts where he studied classical music with concert pianist Susan Starr. Later he transferred to the Manhattan School of Music where he studied jazz piano with Harold Danko. Continue reading →

Like this:

When you assemble three of the music industries finest musicians you’re bound to hear a one of a kind gem. On this occasion, a group called “The Trio” features the impeccable voice of Japan’s very own Makoto Ozone on piano, & fender Rhodes also with the incomparable James Genus on the acoustic bass and the charismatic Clarence Penn on drums to record an exceptional project titled “Real” on Concord Records. —Rob Young

.:|:. A premier jazz musician in Japan, Makoto Ozone has made a successful transition to America, where he became equally prominent in this nation’s improvisational community. He began on organ at four, then took up piano as a teenager. He went to Berklee in 1980 and studied composing and arranging. He was noticed by Gary Burton and later recorded with him and was part of his band.

Ozone’s striking ability (especially on mid-tempo pieces) and impressive technique made him a big hit at the Kool Jazz Festival. His 1984 debut recording featured Burton and bassist Eddie Gomez. It was a stunning example of complete knowledge and mastery of the full jazz piano spectrum. Ozone later worked with European pianist Michel Petrucciani and spent extensive time studying classical music.